Gino Vannelli - The Millennium Collection

Bitrate: 320K/s
Time: 48:20
Size: 110.7 MB
Styles: Pop-Rock, Adult Contemporary
Year: 2002
Art: Front

[3:24] 1. Fly Into This Night
[3:37] 2. I Just Wanna Stop
[4:21] 3. Living Inside Myself
[4:43] 4. Appaloosa
[3:48] 5. The River Must Flow
[2:50] 6. Crazy Life
[4:18] 7. One Night With You
[4:13] 8. Wheels Of Life
[4:30] 9. Love Of My Life
[3:06] 10. Mama Coco
[3:17] 11. People Gotta Move
[6:08] 12. Powerful People

20th Century Masters - The Millennium Collection: The Best of Gino Vanelli collects a dozen of his soft rock and pop hits from the late '70s and early '80s, including "People Gotta Move," "I Just Wanna Stop," "Living Inside Myself," and "Powerful People." The compilation does a good job of presenting the different sides to Vanelli's sound, from the slick, slightly jazzy sound of his biggest hits to soft, romantic ballads like "Wheels of Life" to the somewhat awkward funk edge on tracks such as "Appaloosa" and "Mama Coco." Overall, this collection provides a more complete look at Vanelli's output from this era than The Best of Gino Vanelli, though it's not quite as comprehensive as The Ultimate Collection, which also includes some fun singles from a few years later, like "Black Cars." Still, if it's just the soft rock hits that you're after, 20th Century Masters - The Millennium Collection: The Best of Gino Vanelli gets the job done. ~Heather Phares

The Millennium Collection

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Ike Quebec - Heavy Soul

Styles: Saxophone Jazz
Year: 1962
File: MP3@320K/s
Time: 48:50
Size: 113,5 MB
Art: Front

(5:38)  1. Acquitted
(5:50)  2. Just One More Chance
(4:29)  3. Que's Dilemma
(5:28)  4. Brother Can You Spare a Dime
(6:31)  5. The Man I Love
(6:51)  6. Heavy Soul
(5:22)  7. I Want a Little Girl
(2:44)  8. Nature Boy
(5:54)  9. Blues for Ike

Thick-toned tenor Ike Quebec is in excellent form on this CD reissue of a 1961 Blue Note date. His ballad statements are quite warm, and he swings nicely on a variety of medium-tempo material. Unfortunately, organist Freddie Roach has a rather dated sound, which weakens this session a bit; bassist Milt Hinton and drummer Al Harewood are typically fine in support. Originals alternate with standards, with "Just One More Chance," "The Man I Love," and "Nature Boy" (the latter an emotional tenor-bass duet) being among the highlights. ~ Scott Yanow   http://www.allmusic.com/album/heavy-soul-mw0000126670

Heavy Soul

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Brian Charette - Learning To Count

Styles: Jazz, Post-Bop
Year: 2009
File: MP3@320K/s
Time: 68:38
Size: 157,6 MB
Art: Front

(5:04)  1. Air On A Sunny String
(7:19)  2. Hungarian Bolero
(7:40)  3. Juju
(6:29)  4. Lawrence Of Detroit
(8:56)  5. Milestones
(4:44)  6. Partita Boy
(6:29)  7. Flippin' The Bird
(8:16)  8. Two Slightly Different Indian Scales
(5:26)  9. Good Tipper
(4:39) 10. Empty Pages
(3:30) 11. Learning To Count

Hammond organist Brian Charette has a light touch compared to many of the jazz giants who played the instrument, yet one of the benefits is that he has developed a sound that is distinctively his own. For this studio session, Charette is joined by rising alto saxophonist Mike DiRubbo and drummer Jochen Ruckert, focusing mostly on his originals. The peppy "Air on a Sunny String" is a pulsing opener, displaying the leader's light touch in his breezy solo. "Hungarian Bolero" has an ominous, brooding air, with Ruckert's sensitive percussion providing the perfect backdrop. "Flippin' the Bird" is an easygoing bop vehicle, while "Learning to Count" is a blistering workout for the trio with DiRubbo's vigorous solo powered by Charette and Ruckert. The organist's buoyant midtempo setting of Wayne Shorter's "Juju" and his breezy, lighthearted take of John Lewis' "Milestones" bring new life to these venerable jazz favorites. The only lackluster track is Charette's interpretation of rocker Steve Winwood's "Empty Pages," a dated, repetitious number that resists the best efforts of the leader and DiRubbo to inject some life into it. ~ Ken Dryden   http://www.allmusic.com/album/learning-to-count-mw0002122525

Personnel: Brian Charette (Hammond b-3 organ); Mike DiRubbo (alto saxophone); Jochen Ruckert (drums).

Learning To Count

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Susan Egan - The Secret Of Happiness

Size: 102,1 MB
Time: 43:30
File: MP3 @ 320K/s
Released: 2011
Styles: Jazz/Pop Vocals
Art: Front

01. A Musical Apology (2:30)
02. All Things In Time (3:59)
03. Bridge Over Troubled Water (5:54)
04. Children Will Listen (Duet With Georgia Stitt) (2:48)
05. Cock-Eyed Optimist (3:04)
06. From The Stars (Isla's Song) (3:39)
07. I Have You (3:29)
08. Momsense (3:00)
09. Nina Doesn't Care (3:13)
10. The Me Of The Moment (3:40)
11. The Secret Of Happiness (2:54)
12. The Wanting Of You (5:15)

Best known for her Tony-nominated performance in Beauty and the Beast and her role as Meg in Disney's Hercules, star of stage and screen Susan Egan's fifth studio album, The Secret of Happiness, is a refreshingly tongue-in-cheek affair that showcases a sense of humor often absent from similar musical theater-based albums. Having given birth to two children since 2006's Winter Tracks, it's no surprise that her recently extended family appears to have provided much of the inspiration for its 12 theatrical tracks, whether it's the orchestral cover version of "Momsense," Christian comedian Anita Renfroe's YouTube sensation that reeled off her everyday sayings against a backdrop of The William Tell Overture; the emotive duet with producer Georgia Stitt on a rendition of "Children Will Listen," Stephen Sondheim's Into the Woods Broadway number based on the relationship between child and parent; or the self-penned "Nina Doesn't Care," a delightfully self-deprecating account of her daughter's disinterest at having a Disney Princess as a mom. She's just as playful elsewhere, whether it's her simple acoustic take on Christine Lavin's regretful roll call of insults hurled during a fight ("And I was kidding when I said I hope the #103 bus hits and makes a pancake out of you"), her unique declaration of love on the heartfelt piano balladry of "I Have You" ("Newton had his apple/Michaelangelo had the Sistine chapel...I have you"), or her breezy jazz-tinged interpretation of Rodgers & Hammerstein's South Pacific standard "Cock-Eyed Optimist." A gorgeously hushed and understated reworking of Simon & Garfunkel's "Bridge Over Troubled Water" and the string-soaked self-help guide of the title track are proof, if any were needed, that she can play the leading lady just as well as the comic foil. But The Secret of Happiness is undoubtedly at its most endearing when it doesn't take itself too seriously. ~Review by Jon O'Brien

The Secret Of Happiness

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Ray Brown Jr. - The Best Of Ray Brown Jr.

Size: 140,6 MB
Time: 60:13
File: MP3 @ 320K/s
Released: 2014
Art: Front

01. On Broadway (5:24)
02. Can't Take My Eyes Off You (4:52)
03. Misty (3:18)
04. Sunny Side Of The Street (3:46)
05. Cheek To Cheek (6:04)
06. I Wish You Love (4:36)
07. Fever (5:38)
08. Everybody's Cryin' Mercy (4:04)
09. Lady Is A Tramp (3:17)
10. Ordinary Fool (4:29)
11. Oh Pretty Woman (3:31)
12. I'm Beginning To See The Light (2:41)
13. Who Can I Turn To (4:56)
14. Lullaby Of Birdland (3:30)

The adopted son of Ray Brown and Ella Fitzgerald, he was born in New York City, New York to Fitzgerald's half-sister Frances. Nat King Cole, Louis Armstrong, Frank Sinatra and many others were regular visitors during his childhood.

After moving to California when he was 10, Ray discovered a passion for the drums and for singing. He attended Beverly Hills High School where he sang with school groups which toured at local festivals and hospitals.

His father arranged for him to study with jazz percussionists Bill Douglass and Chuck Flores. Despite his jazz roots he admits that his interest in performing rock music was an act of rebellion. "I used to drive my parents crazy with this. I told my father a few years before he died, you know a lot of times I played that music 'cause I just wanted to see the look on your face.".

His mother's 1964 single "Ringo Beat" was inspired by her son's interest in rock music.

He moved to Seattle in 1971, studying with another drummer, Bill Coleman, Sr. It was at this time that Brown, Jr. began writing songs in addition to playing drums and piano.

In the late 1980s Brown toured the Pacific Northwest, Canada, Alaska, Japan, Korea and Guam performing in tours for the United States Department of Defense. Like his famous parents, Brown, Jr. says he loves performing on the road. He states,

"I love to tour. I've been able to see a lot of the world and I just absolutely enjoyed being able to be with different types of people, different cultures and to see the world. It's just kind of broadened who I am as a person, which eventually will filter down into the music, the influences.".

In 2001, Brown recorded his debut album Slow Down for Love on SRI Jazz, which reached the top 50 of the Gavin Report. His second album, Committed from the Heart, was released in 2003. His sound has been described as an adult contemporary pop sound layered with R&B. Ray Brown, Jr. wrote and arranged all the songs on both CDs.

Additionally in 2003, Brown debuted on the Las Vegas Strip, performing five nights a week in the Le Bistro Theater at the Riviera hotel and casino.

In 2007 he released the album Stand by Me.

In September 2008, Ray Brown Jr. released a duets-style album, Friends and Family, produced by Shelly Liebowitz, on SRI Jazz, a division of SRI Records. Vocal artists on this album include Jane Monheit, Melba Moore, James Moody, Maria Muldaur, Dr. John, Dionne Warwick, Freda Payne, Sophie B. Hawkins, Paul Williams, Dr. Lonnie Smith, Dave Somerville, Kim Hoyer, and Sally Kellerman. Additional instrumental performances appear on some of the album tracks with artists David "Fathead" Newman, James Moody, Dr. John, Dr. Lonnie Smith and jazz vibraphonist Terry Gibbs. Also included on the album is Brown's daughter Haylee singing "A-Tisket, A-Tasket", which song was made famous by her grandmother. There is also a bonus track with Ray's parents in a live version of "How High The Moon", with Ella Fitzgerald and Brown Jr. on vocals and Ray Brown (musician) playing bass. His style has been described as more RnB influenced material.

The Best Of Ray Brown Jr.

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Ross Wooldridge - Ross Wooldridge & His Tribute To The Benny Goodman Sextet

Size: 116,1 MB
Time: 49:47
File: MP3 @ 320K/s
Released: 2012
Styles: Jazz
Art: Front

01. Airmail Special (5:35)
02. Honeysuckle Rose (4:24)
03. Memories Of You (5:28)
04. Slipped Disc (3:32)
05. Running Wild (3:07)
06. Avalon (3:23)
07. After You've Gone (3:43)
08. Bernie's Tune (3:23)
09. Moonglow (3:27)
10. Flying Home (4:48)
11. Liza (3:19)
12. Goodbye (5:33)

Ross Wooldridge was born 1962 in Hamilton Ontario. He showed early musical ability, and was taking piano lessons by age four. He was self-taught on clarinet at age 13, and took saxophone at Ancaster High and Vocational School.Ross Wooldridge

While attending Mohawk College and Humber College (where he also picked up the flute), he honed his skills as a multi instrumentalist, arranger and composer. After finishing his education, he added to his portfolio of skills the titles of producer, conductor, transcription specialist and teacher.

He enjoys co-leading an excellent traditional jazz band known as the Dixie Demons with trombonist Dan Douglas, as well as a busy career of playing and recording with Jeff Healey and the Jazz Wizards, Alex Pangman and her Alley Cats, Jaymz Bee and the Royal Jelly Orchestra, Alfie Zappacosta, Terra Hazelton and her Easy Answers, and many other local artists. Ross has produced CD’s for the Dixie Demons and Alex Pangman, both of which have garnered rave reviews and continually receive airplay on JazzFm and other radio stations across North America.

Additionally, Ross is the leader/musical director of Toronto’s Galaxy All Star Orchestra, a big band specializing in the swing music of the 1930’s through the 1950’s. He has written many of the arrangements the band plays, and produced their CD “Tribute to the Kings of Swing” which is played regularly on JazzFm and other radio stations across North America. Their latest show is “Benny Meets Artie – A Tribute to the Big Bands of Artie Shaw and Benny Goodman”.

Another of Ross’s notable achievements is his critically acclaimed Tribute to Benny Goodman Sextet. This group was featured at a sold out concert presented by JazzFM and The Sound of Toronto Jazz Series in 2005, and they have been in demand ever since. They have released to excellent reviews a new CD for 2012, recorded at a concert performance.

As well as his extensive local resume, Ross has performed with and arranged music for a number of international stars, among them Ben E. King, the Drifters.Ross Woolridge Tribute to Benny Goodman Sextet

Instruments: Piano, Saxophone, Clarinet, Flute.

National Jazz Awards, 2004, 2005, 2006, 2007, 2008.

Ross Wooldridge & His Tribute To The Benny Goodman Sextet

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Claudio Roditi - Two Of Swords

Bitrate: 320K/s
Time: 72:05
Size: 165.0 MB
Styles: Hard bop, Latin jazz
Year: 1991/2007
Art: Front

[7:50] 1. Two Of Swords
[5:25] 2. Rua Dona Margarida
[4:34] 3. Airegin
[7:26] 4. Portrait Of Art
[5:57] 5. Dom Joaquim Braga
[6:23] 6. How I Miss Rio
[9:32] 7. Secret Love
[6:05] 8. Blues For H.O.
[6:12] 9. Pra Mim
[6:21] 10. Con Alma
[6:16] 11. Thabo (To Michael Carvin)

Recorded at two separate sessions on September 24 and 25, 1990, Two of Swords finds Claudio Roditi leading two separate groups. One of them, which he calls a "Brazilian Quintet," employs trombonist Jay Ashby, pianist Edward Simon, bassist Nilson Matta and drummer Duduka Da Fonseca -- the other, which he calls a "Jazz Quartet," includes pianist Danílo Perez, bassist David Finck and drummer Akira Tana. Both groups serve Roditi well, and both of them are hard bop-oriented. The main difference between the two, apart from personnel, is the fact that "the Brazilian Quintet" is more overtly Brazilian-influenced. "The Brazilian Quintet" is still playing hard bop, but it's hard bop that is more consistently mindful of the samba beat that Roditi was surrounded by growing up in Rio de Janeiro. While "the Brazilian Quintet" sticks to Roditi's own compositions, "the Jazz Quartet" embraces Roditi originals as well as "Secret Love," Sonny Rollins' "Airegin" and Dizzy Gillespie's "Con Alma" (which is "the Jazz Quartet"'s most Latin-influenced offering). Two of Swords won't win any awards for being cutting-edge or groundbreaking, but for bop played with plenty of soul and conviction, you can't go wrong with this CD. ~Alex Henderson

Two Of Swords

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Mose Allison - Ramblin' With Mose Allison

Bitrate: 320K/s
Time: 52:09
Size: 119.4 MB
Styles: Cool jazz, Vocal jazz
Year: 1958/2006
Art: Front

[2:51] 1. I Got A Right To Cry
[5:10] 2. Old Devil Moon
[3:30] 3. The Minstrels
[4:23] 4. You Belong To Me
[5:29] 5. Stranger In Paradise
[4:33] 6. The Kissin' Bug
[3:12] 7. Ramble
[3:56] 8. Saritha
[2:20] 9. Old Man John
[3:03] 10. Ingenue
[5:03] 11. Old Devil Moon (alternate take)
[5:51] 12. Stranger In Paradise (alternate take)
[3:27] 13. Ramble (alternate take)

Mose Allison's Ramblin' with Mose was released in 1958. Other than the opening track, a stellar read of Joe Liggins' blues "I Got a Right to Cry," this is an entirely instrumental album. Bassist Addison Farmer and drummer Ronnie Free accompany the pianist as he rips through "Stranger in Paradise" from the score of Kismet at a tempo that would make the composer dizzy; his "Old Devil Moon," moves through some Latin changes and even rhythmic figures before bringing the tune back to earth, and his own "Ramble" is a scorching back-country blues jaunt that offers some evidence of Allison's mighty left-hand skills. Allison displays absolutely brilliant instrumental prowess as both an arranger and as an improviser. His unique, often unorthodox interpretations of standards and pop songs set him apart from virtually every one of his peers. ~ Thom Jurek

Mose Allison (piano, vocals); Addison Farmer (bass instrument); Ronnie Free (drums).

Ramblin' With Mose Allison

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Barney Kessel - Contemporary Latin Rhythms

Bitrate: 320K/s
Time: 30:25
Size: 69.6 MB
Styles: Guitar jazz
Year: 1963/2005
Art: Front

[2:36] 1. Blues In The Night
[2:27] 2. Days Of Wine And Roses
[2:29] 3. Latin Dance No. 1
[3:28] 4. Lady Byrd
[4:13] 5. One Note Samba
[3:08] 6. The Peanut Vendor
[3:10] 7. Quizas, Quizas, Quizas
[3:44] 8. Everytime I Hear This Song
[2:45] 9. Love
[2:21] 10. Twilight In Acapulco

A wonderful wonderful set from Barney Kessel – bossa-inflected jazz, and a wonderful setting for Barney to hit some very groovy lines on electric guitar! The group on the date is part of the strength of the record – with Conte Candoli on trumpet, Emil Richards on vibes, Paul Horn on flute, and Victor Feldman on piano – with loads of great percussion and guitar interplay on the set, plus some excellent use of flute and vibes – all of which makes for the sort of session that really translates the Brazilian groove into the best sort of sound the LA scene was cutting at the time! Nice, light, and dancing rhythms – and titles that include "Love", "Days Of Wine & Roses", "Latin Dance #1", "Lady Byrd", and "One Note Samba".

Contemporary Latin Rhythms

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Lulu Roman - At Last

Styles: Vocal Jazz
Year: 2013
File: MP3@320K/s
Time: 43:07
Size: 103,0 MB
Art: Front

(2:55)  1. At Last
(4:01)  2. Summertime
(3:51)  3. Get Here
(3:31)  4. Fever
(3:35)  5. You Needed Me
(2:45)  6. In My Life
(3:50)  7. You Don't Know Me
(3:09)  8. 'Til I Can Make It On My Own
(3:49)  9. Killing Me Softly (With His Song)
(3:55) 10. You Are So Beautiful
(3:46) 11. I Will Always Love You
(3:55) 12. Precious Lord, Take My Hand

Hee Haw alum Lulu Roman has a voice as large as her personality. But on At Last, “a collection of standards and classics,” she succeeds by reining it in, interpreting such gems as “At Last” and “Summertime” with a steadiness that belies her boisterous TV years as a cornfield comic. The title track is tailor-made for cocktail hour, while “Killing Me Softly” evokes the tropics with a flamenco flourish. Other selections, however, “You Needed Me” and The Beatles’ “In My Life,” in particular, suffer from karaoke blandness. Fortunately, the appearance of Dolly Parton on “I Will Always Love You” and Lulu’s moving reading of “Precious Lord, Take My Hand” wrap up the project on a note almost as high as her old Hee Haw ’do. ~ Joseph Hudak   http://www.countryweekly.com/reviews/last-lulu-roman

Personnel: Kerry Marx (acoustic guitar, electric guitar); Pamela Sixfin, David Davidson , David Angell (violin); Kristin Wilkinson (viola); John Catchings (cello); Gordon Mote (piano); Tommy Wells (percussion).

At Last

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Jennifer Scott - Mile 41

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 49:41
Size: 115,5 MB
Art: Front

(4:27)  1. Clean Up Your Own Backyard
(4:41)  2. Devon In Yorkshire
(2:52)  3. Just In Time
(5:17)  4. Secret O' Life
(4:32)  5. Whims Of Chambers
(4:53)  6. Do You Know What It Means To Miss New Orleans
(4:30)  7. Armando's Rhumba
(4:55)  8. Case Of You
(5:06)  9. Why Don't You Do Right
(4:31) 10. Hallelujah
(3:51) 11. If I Keep My Heart Out Of Sight

Mile 41, the latest studio recording by one of Canada's finest Jazz singers is very much like a road trip. From straight ahead jazz to the avant garde and calling upon Scott's love and knowlege of funk, pop and blues  this CD represents all that makes this singer truly great. It's like a travelogue through all different regions, or genres, but is made cohesive by the fine musicians who play on this recording. Jennifer Scott has performed with Jazz legends like: Clark Terry, Gene Bertoncini, Don Thompson & Tommy Banks, to name but a few. 

Her selection of material is impeccable here  gems from the Great Canadian Songbook (Case Of You, Hallelujah), bass/vocal duets of instrumental tunes done vocalese-style (Whims Of Chambers, Armando's Rhumba), great standards (Why Don't You Do Right, Just In Time)  even an Elvis tune (Clean Up Your Own Backyard)! Scott proves, once again, that there are few that can improvise with as much melodic and harmonic skill, her reading of a ballad is also a delight. This recording also features multi-reedist/flautist Tom Keenlyside, Rene Worst on Bass and Drummer, Bernie Arai.  http://www.cdbaby.com/cd/jenniferscott6

Mile 41

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Ben Webster & Harry Edison - Complete Sextet Studio Sessions Disc 1 And Disc 2

Styles: Saxophone And Trumpet Jazz
Year: 2006
File: MP3@320K/s
Time: 75:56 (Disc 1)
Size: 174,6 MB (Disc 1)
Time: 68:48 (Disc 2)
Size: 162,5 MB (Disc 2)
Art: Front

Disc 1

(3:38)  1. Hollering at the Watkins
(6:02)  2. Used To Be Basie
(3:48)  3. How Deep Is The Ocean
(8:13)  4. Studio Call
(4:50)  5. Willow Weep For Me
(5:09)  6. Opus
(3:24)  7. Love Is Here To Stay
(3:35)  8. K.M.Blues
(7:15)  9. Walkin' With Sweets
(7:02) 10. The Night Is Blue
(7:22) 11. Easy On The Eyes
(6:50) 12. Just A Mood
(8:42) 13. Sunrise Blues

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Disc 2

(4:49)  1. Blues For The Blues
(7:37)  2. Blues For Piney Brown
(3:56)  3. Moonlight In Vermont
(7:02)  4. Taste On The Place
(3:31)  5. Gee Baby I Ain't That Good To You
(9:31)  6. Blues For Bill Basie
(6:51)  7. You're Getting To Be A Habit With Me
(5:53)  8. Blues For The Blues
(3:07)  9. Alone Together
(3:37) 10. Willow Weep For Me
(3:27) 11. Bidin My Time
(3:26) 12. Makin Whopee
(2:32) 13. Moon Song
(3:22) 14. Louise

Although they originally became famous for playing with different big bands (trumpeter Harry "Sweets" Edison with Count Basie and tenor saxophonist Ben Webster with Duke Ellington), the two very distinctive swing stylists recorded together frequently in the late 1950s including with Billie Holiday. The music on this two-CD set is drawn from four different record projects from 1956-1957. A pair of Edison-led records, Sweets and Gee Baby, Ain't I Good to You?, are reissued in full. The two horns are joined on the former set by pianist Jimmy Rowles and guitarist Barney Kessel in the rhythm quartet while the latter has the Oscar Peterson Quartet. 

Not too surprisingly, the music is strongly influenced by Count Basie and the emphasis is on basic originals along with occasional standards. Also on this two-fer are the four numbers from Dave Garroway's Some of My Favorites LP that feature the two horns with Rowles and vibraphonist Red Norvo, and the six Woody Herman vocals from Songs for Hip Lovers that also have Edison and Webster. While it would also be desirable to acquire the Garroway and Herman sets in full, this is a generous two-fer that has Webster and Edison playing in prime form throughout. Fun and swinging music.             ~ Scott Yanow  http://www.allmusic.com/album/complete-sextet-studio-sessions-mw0000452794

Personnel:  Ben Webster, tenor sax; Harry Sweets Edison, trumpet; Oscar Peterson, piano; Barney Kessel, guitar; Ray Brown, bass & Alvin Stoller, drums

Complete Sextet Studio Sessions Disc 1

Complete Sextet Studio Sessions Disc 2

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Kenny Davern - Breezin Along

Styles: Clarinet Jazz
Year: 2006
File: MP3@320K/s
Time: 66:20
Size: 152,4 MB
Art: Front

(6:08)  1. Since My Best Gal Turned Me Down
(5:42)  2. Jazz Me Blues
(8:55)  3. Rose Room
(7:45)  4. Dark Eyes
(6:03)  5. Baby, Won't You Please Come Home
(6:58)  6. My Honey's Lovin' Arms
(4:18)  7. I Surrender Dear
(6:23)  8. Exactly Like You
(6:50)  9. My Mama Socks Me
(7:14) 10. Breezin' Along With The Breeze

By the time of this 1996 CD, Kenny Davern already had a full career of accomplishments, and for years, he had had his own sound and a technique that allowed him to hit very high notes with ease. For this set, he is joined by two masterful guitarists (Howard Alden and Bucky Pizzarelli) in a pianoless rhythm section that also includes bassist Greg Cohen and drummer Tony DeNicola. The strong repertoire (mostly Dixieland and swing standards, plus the leader's minor-tinged song "My Mama Socks Me"), the quiet but heated backup group and Davern's own enthusiasm results in this being one of his finest showcases. Highlights include "Jazz Me Blues," "My Honey's Lovin' Arms" and "Breeezin' Along with the Breeze." Highly recommended to fans of the pre-bop clarinet. ~ Scott Yanow   http://www.allmusic.com/album/breezin-along-mw0000029123

Personnel includes: Kenny Davern (clarinet); Howard Alden, Bucky Pizzarelli (guitar); Greg Cohen (bass); Tony DeNicola (drums).

Breezin Along

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Seldon Powell - Go First Class: The Complete Roost Sessions

Bitrate: 320K/s

Time: 68:14

Size: 156.2 MB

Styles: Saxophone jazz, Swing

Year: 2011

Art: Front

[2:59] 1. Go First Class

[3:58] 2. Why Was I Born

[3:15] 3. Love Is Just Around The Corner

[3:44] 4. Someone To Watch Over Me

[4:39] 5. Count Fleet

[5:16] 6. Autumn Nocturne

[4:52] 7. Swingsville, Ohio

[5:04] 8. Summertime

[2:42] 9. Woodyn' You

[2:39] 10. She's Funny That Way

[2:21] 11. Miss Melody

[2:18] 12. I'll Close My Eyes

[2:28] 13. 11th Hour Blues

[2:38] 14. A Flower Is A Lonesome Thing

[3:30] 15. It's A Cryin' Shame

[2:59] 16. Button Nose

[3:17] 17. Undecided

[4:05] 18. Biscuit For Duncan

[2:46] 19. Sleepy Time Down South

[2:36] 20. Lolly Gag

A veteran tenor saxophonist and flutist, Seldon Powell adjusted and honed his style over the years, being flexible enough to play anything from swing to hard bop and in between. He wasn't the greatest soloist, most ambitious composer, or most spectacular arranger; he was simply a good, consistent player who survived many changes and trends to remain active from the late '40s until the '90s. Powell was classically trained in New York, then worked briefly with Tab Smith in 1949 before joining Lucky Millinder and recording with him in 1950. Powell was in the military in 1950 and 1951, then became a studio musician in New York. He worked and recorded with Louis Bellson, Neal Hefti, Friedrich Gulda, Johnny Richards, and Billy Ver Planck in the mid- and late '50s. Powell also played with Sy Oliver and Erskine Hawkins, and studied at Juilliard. He traveled to Europe with Benny Goodman's band in 1958, and worked briefly with Woody Herman. Powell was a staff player for ABC television in the '60s, and also played and recorded with Buddy Rich, Bellson, Clark Terry, and Ahmed Abdul-Malik. He did a number of soul-jazz and pop dates in the late '60s and early '70s, among them a session with Groove Holmes and big-band dates backing Gato Barbieri and Dizzy Gillespie. Powell was principal soloist in Gerry Mulligan's 16-piece band at the JVC Jazz Festival in New York in 1987. He recorded as a leader for Roost and Epic. ~bio by Ron Wynn

Go First Class: The Complete Roost Sessions

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Bill Withers - Live At Carnegie Hall

Bitrate: 320K/s
Time: 77:12
Size: 176.7 MB
Styles: Smooth soul
Year: 1973/2010
Art: Front

[ 8:34] 1. Use Me
[ 4:28] 2. Friend Of Mine
[ 2:57] 3. Ain't No Sunshine
[ 4:53] 4. Grandma's Hands
[ 5:19] 5. World Keeps Going Around
[ 4:16] 6. Let Me In Your Life
[ 3:41] 7. Better Off Dead
[ 3:01] 8. For My Friend
[ 6:43] 9. I Can't Write Left Handed
[ 5:47] 10. Lean On Me
[ 3:58] 11. Lonely Town, Lonely Street
[ 4:26] 12. Hope She'll Be Happier
[ 5:19] 13. Let Us Love
[13:41] 14. Medley: Harlem, Cold Baloney

A wonderful live album that capitalizes on Withers' trademark melancholy soul sound while expanding the music to fit the room granted by a live show. Lovely versions of "Grandma's Hands" and "Lean on Me" are balanced by heartfelt downbeat numbers like "Better Off Dead" and "I Can't Write Left-Handed," the latter being an anti-war song with a chilling message. The set finishes off with the lengthy "Harlem/Cold Baloney," with lots of audience-pleased call-and-response going on. One of the best live releases from the '70s. ~Steven McDonald

Live At Carnegie Hall

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Cindy Scott - Major To Minor

Styles: Vocal Jazz
Year: 2002
File: MP3@320K/s
Time: 49:14
Size: 113,3 MB
Art: Front

(2:56)  1. It's Don't Mean a Thing
(5:54)  2. What'll I Do
(2:48)  3. Mean To Me
(5:06)  4. Get Out Of Town
(4:58)  5. Ev'ry Time To Say Goodbye
(6:11)  6. Nature Boy
(3:19)  7. Deed I Do
(2:41)  8. It's De-Lovely
(3:48)  9. I Just Found Out About Love
(3:22) 10. On a Slow Boat To China
(5:06) 11. It Might As Well Be Spring
(2:59) 12. Imagination

Houston-based vocalist Cindy Scott strikes gold her first time out. Major to Minor is an exceptional debut album, a happy collaboration between an exciting new singer and a cadre of superior jazz artists. This CD is somewhat of a culmination of material that Scott developed with pianist/arranger Gary Norian and other musicians at a steady gig they had at Cïzanne, a noted Houston jazz club. The function of sidemen, as I see it, is to stimulate, inspire, excite, push, drive, goad and coax their colleagues. And, boy, this band stimulates and pushes Scott. Their efforts, however, do not detract from nor intrude upon her vocals but, rather, enhance and embrace her performance. Norian stated, "We like to keep the integrity of the melody but (play) with some different harmonies and time signatures. They succeed. Each arrangement is fresh, challenging, and most entertaining. Not many budding jazz vocalists could hope to have their first recording date backed by such talented musicians. 

The programming is eclectic, ranging from Cole Porter (three tunes) to Ellington, Berlin and McHugh. Thankfully there are no originals, which in many cases can be uninspired. Things start off hot with some dazzling virtuosic scatting by Scott, working in unison with Woody Witt's tenor sax on the Ellington composition "It Don't Mean a Thing If It Ain't Got That Swing. Scott next lends her sunny timbre to the well-known ballad "What'll I Do, thankfully including the beautiful verse. Trumpeter Dennis Dotson takes a splendid chorus on this Irving Berlin evergreen (some of you may recall Dotson from the Woody Herman band). If I were to pick a favorite tune from this disc, it might be "Get Out of Town. Although Cole Porter wrote this tune in 4/4 time, Scott performs it in 6/8, which adds freshness to a well-worn standard. It starts out with voice and drums and gradually builds until Dotson enters on trumpet. "Nature Boy may not be the best composition, but Scott's version adds luster to a rather uninspired melody. This "Nature Boy is not just a "strange, enchanted boy he is a funky cat. The song builds in intensity and includes some tour de force drumming by Chuck Payne.

Cindy Scott plays with time beautifully on this number. Most singers perform the lesser-known Jimmy McHugh song "I Just Found Out About Love as a jump tune, but Scott and the band decided to record it as a slow waltz. It works splendidly at this tempo and time signature. On "Ev'ry Time We Say Goodbye, Scott shows that she can also break your heart with a slow ballad. Her easy, patient way with this Cole Porter classic is downright ecstatic. Kudos also to pianist Norian's lovely counter melody on this cut. Although this is Cindy Scott's first recording, it will certainly not be her last. For she is not only an exceptional new jazz-oriented singer, she is accessible to a wide spectrum of listeners. You don't need a degree in music to understand her singing; all you need is ears. The disc will appeal to fans who appreciate impeccable intonation, an immaculate sense of timing, and emotional interpretations of song lyrics. Scott is a musical artist who delivers fables and stories and vignettes of life and love. But the young lady can also swing you into bad health.  Highly recommended. ~ Roger Crane   http://www.allaboutjazz.com/major-to-minor-cindy-scott-catahoula-records-review-by-roger-crane.php#.U5HvGCioqdk

Personnel: Cindy Scott - Vocals; Gary Norian - Piano; Thomas Helton - Bass; Chuck Payne - Drums; Woody Witt - Tenor Sax; Dennis Dotson - Trumpet.

Major To Minor

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Nancy Wilson - The Great American Songbook (Disc 1) And (Disc 2)

Styles: Vocal
Year: 2005
File: MP3@320K/s
Time: 54:52 (Disc 1)
Size: 126,5 MB (Disc 1)
Time: 54:30 (Disc 2)
Size: 125,5 MB (Disc 2)
Art: Front

Disc 1

(1:50)  1. All Of You
(2:45)  2. The Things We Did Last Summer
(2:13)  3. The More I See You
(3:01)  4. The Nearness Of You
(2:21)  5. Never Will I Marry
(2:28)  6. What A Little Moonlight Can Do
(2:53)  7. Little Girl Blue
(2:34)  8. Tonight
(1:48)  9. Sometimes I'm Happy
(3:05) 10. Secret Love
(2:35) 11. A Sleepin' Bee
(2:53) 12. Fly Me To The Moon (In Other Words)
(1:44) 13. On The Street Where You Live
(2:36) 14. You Don't Know What Love Is
(2:20) 15. This Time The Dream's On Me
(2:34) 16. Sophisticated Lady
(2:13) 17. Dearly Beloved
(3:14) 18. My Ship
(1:58) 19. My Shining Hour
(2:41) 20. I'm Gonna Laugh You Right Out Of My Life
(2:55) 21. Back In Your Own Back Yard
(1:59) 22. People Will Say We're In Love

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Disc 2

(3:07)  1. Bewitched
(2:44)  2. Try A Little Tenderness
(2:35)  3. At Long Last Love
(2:58)  4. In A Sentimental Mood
(3:57)  5. When The Sun Comes Out
(2:54)  6. The Very Thought Of You
(2:22)  7. Like Someone In Love
(2:54)  8. Angel Eyes
(3:04)  9. My One And Only Love
(2:01) 10. The Song Is You
(3:29) 11. Lush Life
(2:53) 12. It Never Entered My Mind
(2:44) 13. Prelude To A Kiss
(2:44) 14. By Myself
(3:18) 15. Glad To Be Unhappy
(3:01) 16. Time After Time
(2:25) 17. Hello, Dolly!
(2:35) 18. Someone To Watch Over Me
(2:36) 19. You'd Be So Nice To Come Home To

The Great American Songbook has many top-drawer interpreters, but Nancy Wilson is rarely spoken of in the same breath as Ella Fitzgerald or Dinah Washington or Frank Sinatra or Mel Tormé. The reason lies less with her talents, which are sizeable, and more with her orientation, which fits the show tunes concept of putting the song across with precise diction as well as emotion instead of the jazz vocal tradition of personalizing a song. Those who know only Wilson's crossover work and think she intrudes in the field of vocal jazz should simply listen to her 1959 performance of "On the Street Where You Live," where she often varies notes and tempo but preserves the essential ebullience of the song intact an excellent musical performance combined with an excellent reading of a classic standard. 

That song is only one of the treasures present on the two-disc set The Great American Songbook, one in a loose series of three Capitol compilations to compile Wilson's late '50s and early '60s prime, the others focusing on blues ballads and lost love. There is a lot of music to wade through (more than twice as much as the other volumes in the series), but the compilers ably mix up the proceedings, balancing small-group performances that have a loose touch from all involved with large-band spectaculars featuring impeccable arrangements (often by masters of the form Billy May or Gerald Wilson). ~ John Bush   

http://www.allmusic.com/album/the-great-american-songbook-mw0000723672

Personnel: Nancy Wilson (vocals); Joe Gibbons, Bobby Gibbons, John Michael Gray, Jack Marshall, Mundell Lowe, John Collins, Bob Bain, Charles Wright (guitar); Bob Hardaway (flute, clarinet, bass clarinet, English horn); Justin Gordon (flute, clarinet, bass clarinet, saxophone); Abe Most, Ted Nash (flute, clarinet); Bill Green (bass flute, saxophone, alto saxophone); Ernie Snell (bass flute, baritone saxophone); Benny Carter (reeds, saxophone); Jules Jacobs, Bill Ulyate (reeds); Arthur Herfurt, William Ulyate, Jerome A. Kasper, Bill Perkins, Bill Hood, Buddy Collette (saxophone); Jimmy Woods, Joe Maini, Bill Green (alto saxophone); Harold Land, Teddy Edwards (tenor saxophone); Clyde Reasinger, Uan Rasey, Conrad Gozzo , Jules Chaikin, Freddie Hill, Emanuel Klein, Harry "Sweets" Edison , Carmell Jones, Jimmy Salko, Joe Graves, Al Porcino, Pete Candoli, John Audino, Bobby Bryant (trumpet); James A. Decker, Arthur Frantz, Henry DeRosa, Richard Perissi, Henry Sigismonti, Richard Mackey (French horn); Milt Bernhart, Chuck Cooper, Dick Noel, Phillip Teele, William Schaefer, Don Switzer, George Roberts , Lew McReary, Pullman Pederson, Richard Nash, Eddie Kusby, John Ewing , Milt Bernhardt, Murray McEachern, Tommy Pederson , Kenny Shroyer, Lew McCreary, Lester Robertson, Lloyd Ulyate (trombone); Red Callender (tuba); Jack Wilson (piano, celesta); Donn Trenner, George Shearing, Jimmy Jones , Lou Levy, Ralph Sharon, Ronnell Bright, Meyer Rubin (piano); George Duvivier, Jimmy Bond, Joe Mondragon, Sam Jones, Joe Comfort (bass instrument); Carol Kaye (electric bass); Buster Williams (bass guitar); Grady Tate, Stan Levey, Kenny Dennis (drums); Gene Estes, Larry Bunker (percussion); Dick Garcia, Gene Bertoncini, Joe Pass (guitar); Gene Cipriano (bass flute, tenor saxophone); Chuck Gentry, Willie Smith, Paul Horn (reeds); Plas Johnson (saxophone, tenor saxophone, trombone); Fred Falensby (saxophone); Frank Strozier, Cannonball Adderley (alto saxophone); Eddie "Lockjaw" Davis (tenor saxophone); Jack Nimitz (baritone saxophone); Don Fagerquist, Frank Beach (trumpet); Nat Adderley (cornet); Vincent DeRosa (French horn); Si Zentner, Bob Edmondson (trombone); Hank Jones , Joe Zawinul, Milt Raskin (piano); Hal Blaine (vibraphone, drums, chimes); Victor Feldman (vibraphone, timpani, percussion); Eddie Costa (vibraphone); Louis Hayes, Nick Ceroli, Shelly Manne, Irving Cottler, Walter Bolden (drums); Emil Richards (percussion); Gerald Wilson Orchestra, Ron Carter .

 The Great American Songbook (Disc 1)

 The Great American Songbook (Disc 2)

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David "Fathead' Newman - Fathead: Ray Charles Presents David Newman

Styles: Saxophone Jazz
Year: 1959
File: MP3@256K/s
Time: 37:37
Size: 69,0 MB
Art: Front

(4:43)  1. Hard Times
(4:49)  2. Weird Beard
(5:00)  3. Willow Weep For Me
(4:15)  4. Bill For Bennie
(3:46)  5. Sweet Eyes
(5:24)  6. Fathead
(4:17)  7. Mean To Me
(5:18)  8. Tin Tin Deo

The talented David Newman, who alternates on this album between tenor and alto, made his debut as a leader at this session. Since he was in Ray Charles' band at the time, Newman was able to use Charles on piano along with Hank Crawford (here called "Bennie Crawford") on baritone, trumpeter Marcus Belgrave, bassist Edgar Willis, and drummer Milt Turner. The music is essentially soulful bebop, with the highlights including "Hard Times," "Fathead," "Mean to Me," and "Tin Tin Deo." Everyone plays well and this was a fine start to David "Fathead" Newman's career. This historic set was issued on CD by Collectables in 2005. ~ Scott Yanow   http://www.allmusic.com/album/fathead-ray-charles-presents-david-newman-mw0000140154

Personnel: David "Fathead" Newman (flute, alto saxophone, tenor saxophone); David "Fathead" Newman ; Bennie Hank Crawford, Bennie Crawford (baritone saxophone); Edgar Willis (double bass); Milton Turner, Milt Turner, Milton Turner (drums); Marcus Belgrave (trumpet); Ray Charles (piano).

Fathead: Ray Charles Presents David Newman

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Brigitte Mitchell - Don't Explain

Size: 132,3 MB
Time: 56:55
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz Vocals
Art: Front

01. God Bless The Child (5:53)
02. My Favourite Things (4:13)
03. Don't Explain (With Jazz Quintet) (5:38)
04. Doodlin' (3:56)
05. Another Star (5:02)
06. Midnight At The Oasis (4:41)
07. That Ole Devil (3:50)
08. Nica's Dream (4:16)
09. Cry Me A River (5:27)
10. Moonlight In Vermont (4:14)
11. Georgy Porgy (4:08)
12. Don't Explain (Voice And Piano) (5:32)

Silva Records proudly presents one of Hong Kong’s most celebrated Jazz vocalists, Brigitte Mitchell, whom offers an array of delightful and sensual standards, exhibiting her versatility with a daring grace. Hits on this release include timeless Billie Holiday classics, God Bless The Child and the title track Don’t Explain, plus a toe-tapping, swing interpretation of Stevie Wonder’s Another Star. OTher tracks include re-imagined Jazz standards such as Horace Silver’s Doodlin’ and Nica’s Dream, as well as a haunting rendition of evergreen My Favourite Things.

Originally from the scenic shores of Cape Town, Mitchell has been living in Hong Kong for the past 10 years. She had an undeniable urge to explore an artistic path of unknown proportions, sparking this migration from South Africa to Asia. The move has offered a sense of creative liberation. “Taking that step to leave my comfort zone was one of the best decisions I’ve made,” she recounts fondly.

Growing up a witness to the diverse conditions in South Africa, she came to Asia aspiring to personify the change her father wanted to see for the people of Cape Town. By making a name for herself on new ground, she cultivated her father’s vision and she confidently asserts the importance of his advice, “He really insisted on this, try and reach your highest potential and become the best version of yourself.” And her record is certainly indicative of this mind set.

Mitchell has established herself as a headliner Jazz singer, known for her spontaneous and captivating live performances. Don’t Explain is made up of selections from her live show repertoire. “This is how I wanted to feel and sound. Ultimately, I grew into Jazz because I let it take hold of me.” The record is a time capsule that represents not only the magic of a live performance, but also the culmination of Mitchell’s decade-long experimentation and love affair with Jazz.

Don’t Explain showcases Mitchell’s multidimensional vocals in a variety of musical settings. She is backed by a core rhythmic section that she has worked with over the years made up of New York Jazz pianist Bob Mocarsky, Hong Kong veteran Rudy Balbuena on upright bass, and drummer Gary Da Silva, who is also Mitchell’s husband and the record’s Executive Producer. The album also features a number of guest artists, including Australian sax star Blaine Whittaker, Los Angeles pianist Bobby West (Ray Charles, Marvin Gaye), Australian trumpeter Toby Mak, Hong Kong producer and guitarist Tommy Ho, LA tenor saxophonist Albert Wing and Brazilian saxophonist Paulo Levi. Mitchell sweetly praises her colleagues, “Each musician has given a piece of themselves.”

Don’t Explain is just the beginning of Mitchell’s recording career. She says, “I come from such a wide range of musical interests. I hope to explore and continue to grow in new directions.”

Don't Explain

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Brother Jack McDuff - Anthology

Size: 172,9 MB
Time: 74:26
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Funk/Soul
Art: Front

01. Butter (For Yo' Popcorn) ( 4:04)
02. Down Home Style ( 5:02)
03. Flat Backin' (10:19)
04. Oblighetto ( 6:32)
05. The Vibrator ( 4:45)
06. Memphis In June ( 4:13)
07. Moon Rappin' ( 6:18)
08. Theme From Electric Surfboard ( 3:30)
09. It's All A Joke ( 3:49)
10. Groovin' (On A Sunday Afternoon) ( 5:14)
11. Made In Sweden ( 7:33)
12. As She Walked Away ( 7:59)
13. Loose Foot ( 5:02)

A marvelous bandleader and organist as well as capable arranger, "Brother" Jack McDuff has one of the funkiest, most soulful styles of all time on the Hammond B-3. His rock-solid basslines and blues-drenched solos are balanced by clever, almost pianistic melodies and interesting progressions and phrases. McDuff began as a bassist playing with Denny Zeitlin and Joe Farrell. He studied privately in Cincinnati and worked with Johnny Griffin in Chicago. He taught himself organ and piano in the mid-'50s, and began gaining attention working with Willis Jackson in the late '50s and early '60s, cutting high caliber soul-jazz dates for Prestige. McDuff made his recording debut as a leader for Prestige in 1960, playing in a studio pickup band with Jimmy Forrest. They made a pair of outstanding albums: Tough Duff and The Honeydripper. McDuff organized his own band the next year, featuring Harold Vick and drummer Joe Dukes. Things took off when McDuff hired a young guitarist named George Benson. They were among the most popular combos of the mid-'60s and made several excellent albums. McDuff's later groups at Atlantic and Cadet didn't equal the level of the Benson band, while later dates for Verve and Cadet were uneven, though generally good. McDuff experimented with electronic keyboards and fusion during the '70s, then in the '80s got back in the groove with the Muse session Cap'n Jack. While his health fluctuated throughout the '90s, McDuff released several discs on the Concord Jazz label before succumbing to heart failure on January 23, 2001, at the age of 74. ~Biography by Bob Porter

Anthology

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